Image may be NSFW. Clik here to view.British Hifi brand Exposure’s new top-of-range 5010 series features a preamplifier and a pair of mono power amplifiers and builds on the brand’s previous flagship, the MCX series.
Exposure say the MCX series had just one potential drawback: it was massive. Which wasn’t a problem in the days of ‘bigger is better’ but lately our living spaces are becoming more compact and we’re living an increasingly mobile lifestyle. During 2016 and 2017 Exposure introduced its XM series of Hifi components, which is half-width size. So the company then turned its attention to revisiting the top end of its offering and the question of how to make them a fraction of the current physical size.
The result is the brand new 5010 series which features two products: a preamplifier and a pair of mono power amplifiers. On the extruded front panel of the power amplifier you’ll see nothing more than a power button, while that of the preamp is equally pared-back with just a power switch, a single input selector knob and the volume control. The mono power amplifier has double the power of Exposure’s 3010 series equivalent. It features an 800W transformer with dual rectification and two 10000uF screw terminal capacitors, along with eight power transistors per channel. A specially designed slow start circuit reduces the power-on surge. Cascode circuits are used for the input and second amplifier and are fed from active rail smoothing circuits. Welwyn RC55 resistors and polypropylene and polystyrene capacitors are used in critical positions. The input is relay-switched between balanced or single-ended to ensure the shortest possible signal path.
The preamplifier sports six line inputs, also switched by high quality relays. One of the inputs can be reconfigured as either an MM or MC phono option with the addition of an extra PCB, or as a DAC option with the addition of a plug-in board. The latter is capable of up to 192/24 bit PCM and DSD 64, and comes with two inputs: USB and BNC, with auto-switching between them. The preamplifier has a balanced output and is DC coupled using servos at the output, and only one capacitor at the input. Its power supply features a 200W transformer, fast rectifiers and 24 high-quality smoothing capacitors.
The Exposure 5010 series preamplifier and mono power amplifiers are available now, in a choice of black or titanium finish. Prices (incl. VAT):
The A-9110 (50w + 50w, 4 ohms, 20 Hz-20 kHz, 0.9% THD, 2-ch driven, IEC) and digital-audio-ready A-9130 (60w + 60w, 4 ohms, 20 Hz-20 kHz, 0.5% THD, 2-ch driven, IEC) with custom-made or hand-selected parts, simplified and shortened signal-path topology, and specialised tuning to deliver.Image may be NSFW. Clik here to view.
Key to the amplifiers’ lively dynamics says the company’s recent press release, is WRAT (Wide Range Amplification Technology), Onkyo’s high-current platform featuring a high-output EI transformer, two large custom-made main audio capacitors, and discrete power transistors. High-current capability allows fast response to speaker-impedance fluctuations.
You get RCA line-level inputs (four for the A-9110 and five gold-plated inputs for the A-9130) and discrete MM phono stages. The A-9130 adds coaxial and optical digital audio inputs with signals decoded by a Wolfson WM8718 D/A converter supporting 192 kHz/24-bit audio playback. The digital audio board automatically shuts down when an analogue input signal is detected to reduce potential interference on the signal. The A-9130’s digital audio inputs are ideal for TV connection.
Both models have line-level outputs, subwoofer outputs, and non-magnetic speaker binding posts encased in transparent plastic. The A-9130 also includes a direct main power-amp input for connection of an external pre-amplifier.
The A-9110 and A-9130 also boast Phase Matching Bass Boost, a loudness technology that aligns the phase of low- and mid-band frequencies above 300 Hz. together with Optimum Gain Volume Circuitry, which Onkyo says requires half the conventional amount of signal attenuation to prevent interference from the amps’ noise floor.Image may be NSFW. Clik here to view.
Both components feature Direct Mode. In this mode, tone-control and Phase Matching Bass Boost circuitry are bypassed, reducing signal-path lengths.
Addressing the effects of electro-mechanical resonance, the A-9110 receives a significant upgrade to casework rigidity over the A-9010. Both the A-9110 and A-9130 have thick 1.6mm metal chassis with large stable feet.
The front-panel has a slim display panel that shows the active input, while RI (Remote Interactive) inputs on the rear panel on both models unify system control with compatible Onkyo CD transports, digital tuners, and network streamers.
Prices (available in either black or silver, in September)
Image may be NSFW. Clik here to view.Following on from its first ever integrated amplifier, the Halo Integrated, which Hifi Pig reviewed for you here, Parasound has unveiled the Halo Integrated 6 (AKA HINT 6). Upgraded components, more features, more inputs and a new volume control join the HINT’s core architecture and John Curl designed 160-watt class A/AB power amplifier stage.
Named HINT 6 to reflect the pre-amp stage being derived from the forthcoming Parasound P 6 pre-amp, this second iteration HINT remains faithful to the original’s ‘powerful, musical and versatile’ design philosophy as well as its ‘value-engineered price’.
With a 1.1kVa transformer and dual-mono power supply at its heart, the new HINT 6 adds a Burr-Brown analogue resistor ladder volume control with ball-bearing supported aluminium knob. It offers an updated USB input and DAC implementation, and a further improved phono stage with higher gain for lower output cartridges. New convenience features include dimmable display, volume level memory and an additional optical input. In addition to the class A/AB power section carried over from the original HINT, the HINT 6 retains the dedicated high-current headphone amplifier, a direct input that bypasses the pre-amp section, 12v trigger and IR integration, and fully balanced XLR in/out connections. Comprehensive analogue bass management and subwoofer control can be engaged for 2.1 systems and the phono stage offers variable loading for MM and MC cartridges. The Hint 6 is supplied with a back-lit remote control.
Parasound founder and president, Richard Schram told us: “The HINT received outstanding accolades from audiophile magazines around the world, so we looked carefully at what we could improve without significantly increasing the price. We began by upgrading key parts in the analogue preamp circuitry to achieve exceptional sonic transparency and improved channel separation. On the digital side, we redesigned the ESS-based DAC implementation making it easier to integrate with cutting-edge PCs and music servers. We also thoroughly modernised the volume control, replacing the original’s motorised potentiometer with an electronically switched, pure analogue resistor ladder array to achieve exceptional channel tracking even at low listening levels. John Curl’s circuit topology is timeless, so we carried over the Halo Integrated’s 160-watt, Class A/AB power amplifier stage to the HINT 6”.
Image may be NSFW. Clik here to view.August is traditionally a quiet month on the Hifi calendar….but you wouldn’t have thought it with all the Hifi News and Hifi reviews that we brought you. Hopefully all our readers and industry friends had a brilliant summer and are now feeling refreshed and raring to go in September!
The Cyrus OneHD is an integrated amp and DAC with a whole host of connectivity for what looks to be a very reasonable £999. Alan McIntosh takes a listen.
Having never been introduced to Cyrus before, when the OneHD integrated amplifier arrived I was looking forward to a test with completely fresh ears. Add to that the Cyrus OneHD adds even further inputs and versatility (including the new AptX HD Bluetooth technology deriving its moniker) to the previously reviewed Cyrus One – all for under a grand – I was very, very much looking forward to seeing if it could deliver.Image may be NSFW. Clik here to view.
CONSTRUCTION
Picture the bridge of the Death Star in the film Empire Strikes back. Picture Darth and his crew, in their 70’s version of high concept sci-fi – all gloss black and red, dotted around with blinking console lights and you have my first impressions of the OneHD – and I loved it! Arriving very well packaged in a double skin box, packed out well and with a simple “get started” leaflet and CD of full colour info and instructions, it feels Cyrus see quality as important. Unveiling the well-known “shoe box” form factored black amplifier your immediately struck by 3 things – Firstly its diminutive well machined metal body (a dense 5.6kg), its positively bristling input panel to the rear and to put the icing on the aesthetic cake a gloss black, with only 2 oversized “frog eye” rotary wheel controls (subtle power button under one of these) with just ONEHD in small white and red writing and a headphone socket – as I sat it out my wife entered the room and for the first time I heard the words “that’s a sexy amp!” – off to a good start then – on the design front at least!
It may be a niggle for some that not included, is a remote – that however is covered via the very slick and intuitive ONE Remote app available for both iOS and Android.
On power-up you get a rather snazzy light display (LEDs are dimable) round the dials and a brief hint of a “fizz” through the speakers which Cyrus assure is normal for the OneHD and is such a low volume that it’s nothing to be concerned about.Image may be NSFW. Clik here to view.
Turning first to that forest of connections at the back we have a plate packed with every conceivable input with bi-wire capable outputs either side offered up via sturdy binding posts and a pre-out for feeding a power amplifier if desired. Only thing lacking here I think is better labelling of sources.
Included is a passive RIAA MM phono stage which Cyrus have now separated from the main circuit, aiming to lower the noise floor and making it very turntable ready. Streaming options are via Digital Coaxial/SPDIF input, USB 2.0 for laptop streaming and Toslink, all being fed into an ESS 32bit DAC helping to earning the Cyrus that “high definition” tag. The Asynchronous USB handles up to 32/192 and DSD 64 and 128. The Coax and Toslink options both managing 24/192. Three line level inputs include an AV integration option for running a simple 2 channel home cinema rig or use the OneHD as a pre amp to drive a bigger system. Add to all of this the latest aptX HD Bluetooth which the makers (Qualcomm) suggest is “better than CD quality” if fed a good source (Tidal HiFi for example) and you can start to see the possibilities this integrated amp could offer. In fact, we may need to invent a new class – HyperIntegrated! (I’m trademarking that).Image may be NSFW. Clik here to view.
Cyrus 4th Gen Class D in nature, with a large toroidal linear power supply, it outputs at 100w to 6ohms. Distortion is listed at 0.1%, but we have to consider that in the context of the mighty power combined with the versatility it offers at a very reasonable price point. Output is already regulated via Cyrus’ Speaker Impedance Detection (SID) system. The Headphone stage when activated has all power driven to it creating a Class AB delivery with power to drive even power hungry headphones.
SOUND QUALITY
Before I begin I think it’s worthwhile discussing who I believe the target user for the ONEHD is. It’s not going to be the heart of a pure audiophile setup, instead I think this amplifier will appeal massively to someone who needs a small footprint and extended versatility, perhaps listens to vinyl or CD on occasion, but often as not streams their music or wants to run an AV or games console – basically a do it all, and do it well enough to enjoy and not have to faff with different components – rather than “do some” at a higher delivery point – Cyrus have plenty in their other range for this. In that vein I’ve tested with components I feel would be a good balance.
Vinyl first– using the integrated MM stage I set up some usual reference tracks with my reference Fyne 500 standmounts, which despite their size are both revealing and have good tight bass and so give me good feel for any source or amp. Using an Ortofon 2M Red the sound achieved isn’t perhaps as refined as that achievable using a dedicated Class A amp and MC capable phono and cart, but it sure is musical and easy to listen to and given the versatility on hand this little guy really does impress me, especially with some volume behind it. Onto the Arcam CDS27 CD/SACD (pretty uncoloured signature) and again I’m finding I’m just enjoying the music, almost forgetting to “listen” for sound which I guess is what’s it’s all about – strong staging and drive. Hint of warmth in the bass, perhaps wanting a smidge more resolution and brightness in the mids compared to more pricey Class A amps, so you may want to choose pairing with a little care if you prefer a clinical sound. Staging is open and dynamic – the 100W driving the Fynes with ease.Image may be NSFW. Clik here to view.
Streaming from my Pioneer N50 via the Coax input and same story, fun to listen to, no obvious detractors and already I start to realise the flexibility of one box, controlled with one remote is very much growing on me! Laptop via the USB2.0 delivered similar results. I didn’t have DSD files to test but at FLAC quality it performs well.
Next, I move the OneHD to my new LG HDR TV and take the Toslink route to set up a simple 2.0 set up. I also switched to Dali Zensor 3’s. Musicality again is pleasurable, warming a little more (the Dali’s have that signature) but I can also hear a slight loss of refinement in mids and highs, staging a little further back, to be expected that this price point and via Toslink. Feeding it with the Arcam and the effect is consistent, suggesting you might want to audition with different speakers for your preferred pairing.Image may be NSFW. Clik here to view.
Lastly Bluetooth via that aptX HD technology. It should be noted you need an aptX HD compatible handset top take full advantage of this (I had to borrow one – Android has well embraced it but Apple not so…). I have to say colour me impressed! “Better than CD” I can’t confirm or deny, but it’s not lacking in detail or musicality. In fact, I’ve found myself spending more time on streaming via Bluetooth on this amp than ever before – again a nod to simply how extensively versatile it is.
CONCLUSION
If you have a budget of a grand and are seeking a true all in one amp that offers the latest quality Bluetooth is turntable ready and with good power output, a very respectable headphone amp and decent DAC to stream from laptop or phone and seek a small footprint or want to use your AV or games console and don’t need the latest word in high resolution and refinement, then you simply need to audition the Cyrus ONEHD. I kind of fell in love with it for its simplicity and can see it spurring a lot of other manufacturers to consider this level of integration as a new generation of listeners return to vinyl and CD as well as streaming. I may just find a spot for this and keep it!
AT A GLANCEImage may be NSFW. Clik here to view.
Build Quality: Designed well, solid unit, high quality materials and strong aesthetics – if a little busy at the back
Sound Quality: Fun! That’s overall my impression. It’s not going to beat some of the better quality and purely integrated amps where you seek resolution and refinements. The Cyrus has some warmth overall but its power drives speakers with ease and listening is a pleasurable experience – and remember the sheer number of inputs that very few, if any can rival means far less components to faff with
Value For Money: At an RRP of just under a grand I think Cyrus have worked wonders here – I’m genuinely feeling sad to see it go, It’s just so easy to set up and listen and jump from one source to the next.
Pros: Sheer versatility, inclusion of latest aptX Bluetooth, great looks and ease of use as well as good fun musicality, linear power and great power delivery and high-quality headphone stage
Cons: If I’m being hyper critical labelling of the many inputs could be easier as looking from above its hard to see L+R, number on the input etc
Review Equipment Used : Unmodified Technics SL1210Mk3D, Ortofon 2M Red, Arcam CDS27, Pioneer n50K, Cambridge Audio DACMagic Azure, Ecosse 2.23 and MS4.45 bi wire Speaker cables, Chord Clearway + Shawline Interconnects , Fyne Audio 500 and Dali Zensor 3’s. Tidal HiFi streaming via HP Laptop and iPhone 8 / Galaxy S9
Specifications :
– Class D Amp: Cyrus 4th gen Hybrid
– Out: 2x 100W (6Ω @0.1% THD+N)Pre out: connect to power amps
– Headphone Amp: High voltage class AB
– Binding posts: Bi-wire compatible
Inputs
– USB Input: Asynchronous USB
– Dig: Optical Toslink + Coax SPDIF
– RCA: to built-in MM phono stage
– Bluetooth: aptX HD compatible
– Line Level: 3 incl AV integrated
General
– SID: Speaker Impedance Detection
– AC: Linear power supply
– Dimensions (HWD): 85 x 220 x 390mm
– Weight: 5.6kg
Sicily is famed for its lemons. Fortunately, John Scott discovers that Sicilian amplifier manufacturer Audiozen’s Alchemy amp is a bit of a peach at £3091.
UNBOXING, ,CONSTRUCTION AND APPEARANCE
The Audiozen Alchemy amplifier arrived in an impressively large, sturdy and heavy wooden packing case, branded with the Audiozen logo. Fortunately, my cordless drill had retained just enough power to enable it to unscrew the top of the case as I suspect there may have been a small degree of shouting and swearing if I had been required to exert my puny muscles to remove the screws. Solid, secure packaging is to be applauded though, and as my drill wheezed out its dying breath just as the final screw was removed, I lifted the top of the case to see that its contents were well-protected by the thick foam panelling glued to each of the interior sides. This was also supplemented by polythene packaging and bubble wrap.
It would be reasonable to expect that an integrated amplifier would be a single-box affair but the Alchemy is a two-box design, coming with its own separate power supply that powers both the pre and power sections of the second unit.Image may be NSFW. Clik here to view.
First out of the packing crate was the amplification unit. This was surprisingly light in weight but I was soon to find our why; the weight was all in the substantial power supply unit, with its three substantial toroidal transformers. Were these two units combined into a single box, it would come in at around 13kg. The units are slightly mismatched in size (the pre/power amp measuring 135 x 340 x 295mm and the power supply unit 95 x 340 x 245mm) but make an attractive pair when positioned either side by side on a shelf or on individual shelves. Marketing photos show the pre/power amp perched directly on top of the power supply but I wouldn’t recommend this in practice; the top plates of both units I was supplied with bowed slightly when any weight was put on them. Having said that, I understand that future models will have improved cross bracing.
Both units have attractive brushed aluminium face plates although a black finish is available on request. Audiozen have opted for a fairly minimalist, uncluttered design that speaks quietly of quality rather than shouting about its price tag. The power supply boasts discreet lettering and logos on its front panel and the amplifier unit is only slightly more ostentatious with the same lettering/logo combination and three solid rotary knobs – source selection, volume and stand by/on switch.Image may be NSFW. Clik here to view.Image may be NSFW. Clik here to view.
SET UP
Connection of the power supply to the amp is achieved via two chunky power cables, one green and one red; one screw connection and one bayonet to prevent them from being mixed up. Having connected these, all that is left is to connect your speaker cables to the binding posts – bare wire, spades or banana plugs are accommodated – connect up to four of your chosen sources to the RCA inputs, plug in the mains cable to the power supply, switch it on and you are good to go. Almost. Audiozen recommend warming up the two NOS (New Old Stock) E88CC valves in the pre amp section for a few minutes ( I went to put the kettle on) before turning the rotary switch to the right to turn the amp fully on.
The last thing to mention before we get down to how the Alchemy sounds is the remote control. This is something that is a particular bugbear with me ; I feel strongly that the quality of a remote control should be commensurate in quality with the equipment that it partners. Unfortunately while the Alchemy exudes elegance, the same can not be said of the oversized plastic remote. At this price point, I think Audiozen should seriously reconsider this.Image may be NSFW. Clik here to view.
SOUND QUALITY
Since I’d gone to the trouble of boiling the kettle, I settled down with a cup of coffee and an album I know like the back of my hand: Mike Oldfield’s 2009 remix of Tubular Bells. Immediately, I found that adjusting the volume using the remote was entirely hit or miss; the Alchemy is a high gain amp and it only takes a very slight adjustment of the volume knob to achieve significant differences in volume level. As I tapped the + and – buttons on the remote, I watched the motorised volume knob move back and forward between not quite loud enough and slightly too loud. I decided to manually set the volume knob and use the volume slider on the iPad app that I use to control my digital library for fine adjustment. Since I carried out this review, Audiozen have reduced the amp’s gain by 4db so more precise volume adjustment should be possible with future models.
Back to the music. As I moved through Tubular Bells Part 1, from the famous “Exorcist” introduction to Viv Stanshall’s introduction of the various instruments near the end, I was struck by the Alchemy’s ability to pull out detail while keeping the very many different elements of the piece integrated into a cohesive musical experience. On previous listenings I’ve frequently found that subtle details can struggle to cut their way through everything else that is going on but that was certainly not the case here.Image may be NSFW. Clik here to view.
I moved on to some very different types of music: Iron Bar Dub from Linton Kwesi Johnson’s LKJ In Dub allowed the Alchemy to show off its capabilities right across the frequency spectrum. Bass was deep but tightly controlled, the hi hat cymbals were cleanly presented without any tizz and there was really impressive detail in the dub reverb effects; so good that I just had to play it again. Moving on to Find The River from REM’s Automatic For The People, the Alchemy presented the track as if it was played live in the studio. In reality, the recording is no doubt made up of multiple takes and overdubs but there was a sure sense of the performance taking place right there in front of me. SuperBass 2 by Ray Brown, Christian Mcbride and John Clayton sees the three jazz bass virtuosos perform in what is very definitely a live performance. Their take on Papa Was A Rolling Stone contains a mix of frantic plucked and bowed double bass playing and it’s all too easy for this to come across as a bit of a confused mess. The Alchemy made a good fist of this though, separating out the three instruments in the soundstage and picking up on the atmospherics of the performance and the enthusiasm of the audience.
All in all, the Alchemy was unfazed by whatever I threw at it during the period of the review and I always found myself looking forward to spending time with it, which is always a good indication that a piece of hi-fi kit is doing its job well.
CONCLUSION
Audiozen’s Alchemy sits within a crowded segment of the Hifi market, but its discrete power supply and hybrid valve/solid state pre/power design help it to stand out from the crowd. Refined in both looks and sound, if you are considering an integrated amp at this price point then the Alchemy deserves to be on your audition list.
Elegantly understated in both looks and functionality, the Alchemy simply gets on with doing what it was designed to do – producing an involving, musical experience time after time.
Build Quality: Both the amplifier and power supply units are finished to a high standard. As mentioned above, the slight weakness to the top plate of the units has now been addressed.
Sound Quality: Engaging and entertaining, the Alchemy regularly kept me up past bedtime as “let’s have one more tune” saw the time just slipping away. Fully capable of being punchy and dynamic when the occasion demands, the Alchemy’s real strengths are in its elegant subtlety, it knows how to deliver without having to shout about it.
Value for Money: While not a giant killer that tries to to punch above its weight, the Alchemy is a highly capable performer at its price point and will provide years of enjoyment.
Pros: Good looks and quality manufacturing and it sounds even better than it looks. Separate power supply sets it apart from the crowd.
Cons: I really didn’t like the remote.
Price: £3091.00
John Scott
Technical Specifications
Output power @ 8 Ω – 90 W per channel
Output power @ 4 Ω – 170 W per channel
Class – AB
Frequency response – 5 – 100.000 Hz +/- 3dB
Sensitivity/input impedance – 180 mV/100 KΩ
Signal-to-noise ratio – 98 dB
NOS tubes – 2 x E88CC (6BZ7/6BS8)
Unbalanced inputs – 4
Available finishes – silver (black upon request)
Main unit dimensions – 340 x 135 x 245 mm (W x H x D)
Sicily is famed for its lemons. Fortunately, John Scott discovers that Sicilian amplifier manufacturer Audiozen’s Alchemy amp is a bit of a peach at £3091.
“The Audiozen Alchemy amplifier arrived in an impressively large, sturdy and heavy wooden packing case, branded with the Audiozen logo. Fortunately, my cordless drill had retained just enough power to enable it to unscrew the top of the case as I suspect there may have been a small degree of shouting and swearing if I had been required to exert my puny muscles to remove the screws. Solid, secure packaging is to be applauded though, and as my drill wheezed out its dying breath just as the final screw was removed, I lifted the top of the case to see that its contents were well-protected by the thick foam panelling glued to each of the interior sides…”
Image may be NSFW. Clik here to view.Mitchell & Johnson has launched the 800 Series, a new flagship range of hifi components, its first to be entirely designed, engineered and built in the UK. The new 800 Series represents a significant milestone for Mitchell & Johnson, as the company transitions towards a new era of entirely British built equipment for its customers, following a period of investment in the UK.
The first products to be announced in the new 800 Series are the S800 ‘digital’ preamp with multi-input DAC and phono stage, plus the matching S815 power amp, which are both priced at £1,299 each. Both are available in brushed silver and brushed black. A matching CD player is expected in November.
The new S800 is Mitchell & Johnson’s flagship preamp and has been designed to cater for both the vinyl renaissance and digital music-listening in all its forms. The S800 benefits from an internal phono stage, compatible with both Moving Magnet and Moving Coil cartridges, plus a built-in ESS Sabre 9018 DAC with an XMOS asynchronous USB input plus three optical and three coaxial digital inputs.
The preamp’s analogue inputs include six connections: five unbalanced RCAs plus one balanced XLR. Outputs include two unbalanced RCA plus one balanced XLR. Left and right dedicated subwoofer outputs bring additional flexibility with A/V systems and provide useful convenience for 2.1 audio set-ups and general subwoofer experimentation. Further connections include a pair of fixed-level record outputs. S800 also has a dedicated internal headphone amplifier with a fascia-mounted 6.35mm/quarter-inch headphone jack. Further features include a Burr-Brown analogue volume control and a 12-volt power link. The electronics are housed within the new 800 Series casework which features a solid aluminium machined front panel with custom-machined aluminium dials controlling volume attenuation and source selection. The front panel also includes an on/off toggle switch, standby mode indicator and IR sensor. The extra-large LCD display panel provides source selection and volume information. A fully functioning remote control is also included.
Mitchell & Johnson’s flagship S815 power amp has been designed to complement the S800 preamp and shares the same new 800 Series casework with a solid aluminium machined front panel, on/off toggle switch and standby mode indicator. Central to the new S815 power amp’s design is a pair of illuminated VU meters, visually indicating the output level across both left and right channels.
Benefitting from Class A/B architecture, the high-current design S815 offers 150 watts RMS (into 8 ohms) and 300 watts RMS into a 4-ohm load and has been designed using six Toshiba high-power audio-grade output transistors per channel. In order to complement the partnering S800 ‘digital’ preamp, the S815 power amp offers both RCA and XLR inputs, and also benefits from RCA stereo line outputs for bi-amping should additional power be required for each channel/speaker. Dual gold-plated loudspeaker terminals are used and a 12-volt power link offers simultaneous startup when used in conjunction with the S800 preamp.
I love factory visits and so when an invitation to Linn in Glasgow dropped onto our virtual doormat I was really quite chuffed. I’ve known, as many of you reading this will have, Linn from my teenage days and reading the mags of the day and lusting after the LP 12, Isobariks etc. Needless to say I ended up owning aforementioned turntable having spent the majority of my first term at university’s grant on a second-hand one (afromosia plinth, no arm and no cartridge). That got swapped, along with my Musical Fidelity The Preamp and Crimson Electric amp, for a pair of Technics 1210s when the acid house craze kicked off and I started my Djing career. For many years I was Linnless (though many will have noticed the fact that the good lady wife is a Lin, though missing an n from the end of her name). I digress but Linn did play a major part in the rekindling of my love of Hifi when about 13 years ago Lin (Mrs Hifi Pig) noticed some Linn gear for sale on a local expat forum. So I was now fully kitted out with an LP12 (this time it had an arm and cartridge), a Karik CD player, Majik amp and a pair of Keilidh speakers. So, to say Linn are somewhat instrumental in the creation of what has become Hifi Pig is a bit of an understatement.
What I like about Linn and their outlook is that they are, despite lots of changes in the industry, fiercely independent and that they continue to make products in-house at their Glasgow base. I also like their commitment to their retailers and their attitude of never selling online. Indeed, one of the major points Gilad (son of Ivor and current MD) makes in his introduction is that Linn want to be the best business partners they can be and that being independent and without shareholders they are able to focus on longer term goals and ensure that retailers are an integral part of the whole Linn experience. So that is why you will see fewer but more focused sellers of Linn equipment and that the buying experience they offer is high – think Brian and Trevor’s House of Linn in Manchester. There are now 50% less Linn retailers in the UK (around 40) than there was two years ago. Manufacturing is coming more in house all the time too with Linn investing (see the pics that follow) in new technology and new surface mount technology for circuit boards and the like. It’s interesting to hear, and somewhat refreshing too, Gilad say that the company is “very anti manufacturing in China” and that they have recently invested around £1.6 million in new machinery.
So, who are Linn’s customers? According to Gilad there are three main buyers of their products. You have the audiophile customer buying their sources (LP12 and streamers), existing customers buying upgrades to products they already own and finally, and I think interestingly, customers who love music but have no interest in getting into the whole Hifi/audiophile thing buying speaker systems and all in one units.Image may be NSFW. Clik here to view.
A bit of history is in order at this juncture I think. In 2007 Linn introduced the Klimax DS and network streaming – quite a departure for a company who are most famous for their vinyl spinners. In 2013 Exakt is launched bringing active technology to speakers with many manufacturers now making speakers that are Exakt compatible. Which brings us to why we are here today and the launch of the new Selekt DSM. You can read more about the Selekt DSM here.
The thinking behind Selekt DSM, according to Gilad, is what people love about vinyl is that it is tactile and touchable and so Linn wanted to bring some of that feeling of vinyl’s “feel” into the realms of streaming and I love that the new Selekt DSM is useable WITHOUT the need for an app…though one is available of course. What I also like about the new unit is the inclusion of a new version of Linn’s “Space Optimisation” tech (which Lin and I heard in its original form many years ago in Paris) allowing the system to optimise for different room shapes and room layouts.
Adrian Choong (pictured below and in charge of product design) spoke to us about the configurability of the new Selekt and how performance and feel for the end user had been paramount. You can read more about the Selekt in our news item here but what I took from Adrian’s talk was the modularity and the fact that the design allows for upgrades down the line with the addition of specific cartridges (though I think Linn miss a trick in not calling them Kartridges) – buy the base unit and configure as you wish with headphone amp cartridge, class D amp cartridge and even a 5.1 unit. The base unit includes a MM/MC phonostage too and this is interesting in that it runs in the digital domain (shock horror to traditionalists I’m sure, but as Gilad points out, Linn have always used whatever technology they feel delivers the best results for the end user). There is also the option to upgrade the DAC module included in the base module to Katalyst level, again using a slot in cartridge, making life for the user and retailer pretty simple. The unit does look very nice and has six buttons that are configurable on the front top, a large OLED display that is in black and white (no album art, which I quite like) and a big Knob which allows for not just volume control but also for pause, resume, and cycling through connections. I like this move away from the absolute ned to use an app though if you do want to see album art etc then you can use an app. I found the unit accessible, easy to fathom, clean and clear in use. I also liked that the Selekt is the same footprint as the LP 12 and that it is designed to sit on top of furniture rather than being hidden away on a shelf. Price is £4K for the base model, £5250 with the amp Kartridge (that’s what I’m going to kall them as it follows Linn tradition) added and you can add another £1500 if you want to go the whole hog and add the Katalyst DAC Kartridge. It begins shipping today early October but enjoys its launch today, the 20th September.Image may be NSFW. Clik here to view.
Personally, I like this new unit and feel that it is aimed directly, as Gilad previously mentioned in his intro’, at new customers who love music and who are looking for a one box solution (just add speakers and/or record player) but also for folk looking to dabble in the whole streaming experience.
We obviously had a listen to the Selekt DSM and it is very good when compared to the competition, even in its base form. If I wasn’t the kind of person who loves lots of boxes for my Hifi (read audiophile nerd) this would certainly be on my shopping shortlist of units to try in the home. It’s stylish, simple, configurable, tactile and has just enough of that nerd-appeal to be relevant for the dyed in the wool audiophile. Like it or not, this kind of all in one product is surely the future of music reproduction in the home and I for one applaud Linn and others for recognising and embracing this fact.
Presentation of the new product over we were treated to a tour of the factory, it was smaller than I expected, but staff looked happy, were keen to talk to us and the machinery was suitably impressive. Here’s the pics from the tour which I know is what readers really want to see…
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Image may be NSFW. Clik here to view.Audiolab launched the 8000A in 1983, thirty five years on they are launching the new 6000A. Outwardly, the 6000A bears strong resemblance to the 8300A with its rotary controls and large, central OLED display. But while the 8300A costs £899, the 6000A’s recommended price tag is just £599. What’s more, unlike its costlier, analogue-only sibling, it incorporates high-quality D/A conversion, enabling digital sources to be connected directly without an external DAC.
It supplies four digital inputs, three line-level analogue inputs, an input for a turntable, wireless connectivity via Bluetooth and a dedicated headphone amp. The 6000A’s lead electronics designer is Jan Ertner, the same man responsible for the 8300A. As ever, Audiolab has turned to the ES9018 Sabre32 Reference chip family to perform D/A conversion, utilising ESS Technology’s 32-bit HyperStream architecture and Time Domain Jitter Eliminator. A critical element is the post-DAC active filter. Ertner and his team have paid great attention to this circuit, developing a Class A topology using op-amps that were specifically chosen for their synergy with the ES9018.
The amp’s four S/PDIF digital inputs, two coaxial and two optical, handle hi-res PCM data up to 24-bit/192kHz and benefit from three user-selectable digital filters: ‘Fast Roll-Off’, ‘Slow Roll-Off’ and ‘Minimum Phase’. These settings allow the user to optimise the response to suit the source file and bandwidth of the partnering equipment. Bluetooth connectivity, which includes support for the sonically superior aptX codec, allows wireless streaming from smartphones, tablets, laptops and more. The 6000A’s discrete Class AB power amp stage delivers 50W per channel into eight ohms, with a maximum current delivery of 9 Amps into difficult loads. The output stage of the discrete power amp circuits uses a CFB (Complementary Feedback) topology, the idle current is kept independent of the temperature of the output transistors. The preamp section is kept as simple as possible to maintain signal purity, with line input signals passing to an analogue volume stage. The latter covers the range from -80dB to +8dB in steps of 2dB and 1dB (step resolution increases with volume position). Audiolab has included a phono stage for moving magnet phono cartridges and has incorporated a dedicated headphone amp with current-feedback circuitry. The amp has three modes. The primary mode is ‘Integrated’ – this combines the pre and power amp stages, for the connection of digital and analogue sources to the amp’s inputs and a pair of speakers to its binding posts. ‘Pre-Power Mode’ disconnects the pre and power amp stages. The allows the 6000A to be used solely as a power amp – for example, connected to an AV processor in a home cinema system. It also enables additional signal processing to be added, by connecting the 6000A’s ‘preamp out’ socket to an external processor, then returning the processor’s output to the amp’s ‘power amp in’ socket. Finally, ‘Pre Mode’ disables the power amp stage, turning the 6000A into a standalone preamp. This enables external power amplification to be added, thus providing a possible upgrade path.
Jan Ertner, the project’s lead electronics designer, commented: “The majority of audio components that I design retail for upwards of £1,000, so the 6000A was a tremendous challenge – an integrated amp with a full roster of digital and analogue facilities at a target retail price of just £600. What’s more, it had to deliver the excellent sound quality for which Audiolab is famed, without compromising one aspect of performance in order to accommodate another. I’m proud of the results we have attained. On DAC performance alone, the 6000A will match standalone DACs in the £500-£600 range. As for the analogue pre and power amp stages, we’ve worked long and hard to ensure that the 6000A delivers class-leading sound quality. As a package – a high-quality, affordable integrated amp for the modern age – the 6000A represents excellent value-for-money.”
The Audiolab 6000A is available from October in a choice of silver or black, at an RRP of £599.
Image may be NSFW. Clik here to view.Leema Acoustics, the Welsh hifi brand founded by two ex-BBC sound engineers, will be at The Audio Show this weekend (September 22nd and 23rd) demonstrating the newly announced Sirius streaming music server and the Tucana II Anniversary Edition integrated amplifier.
The new Sirius (£3,995 2TB) is a hifi-grade streaming music server system that provides a solution for the storage and playback of digital music. Developed in partnership with Innuos, Leema’s ex-BBC engineers have combined performance with the convenience of a UPNP/DNLA-compatible music server.
Leema Acoustics’ Tucana II Anniversary Edition integrated (£4,995), is an upgraded version of the amplifier which has been improved internally and externally and updated by Leema’s Lee Taylor.
The show is on Saturday 22nd 10.00 a.m.— 5.00 p.m.; Sunday 23rd 10.00 a.m.— 4.00 p.m. September 2018 and Leema will be in Exec room 1, (MIAN Audio Distribution), ground floor, The Audio Show, Woodland Grange, Old Milverton Lane, Leamington Spa.
Festival of Sound, or Festival of Indulgence as we had called it after it changed its name from ‘Indulgence’ after the last two shows, could be seen to have taken a bit of a risk with the name change. We thought it was quite a brave move as the indulgence brand had become established…would this rebrand alienate the show from the public? In a word, no.
We took a flying visit to this show, arriving at the end of Friday to find the exhibitors happy with the quality of the visitors that day. There also seemed to be an overall agreement that the footfall was better than previous years. The UK Hifi Press was well represented with ourselves from Hifi Pig and journalists from the other media partners, The Ear and Hifi World in attendance. Also great to run into journos that we know from other big name publications like Hifi+, Hifi Choice and What Hifi….which shows that the show is now firmly on the map and deserves the full attention of the industry press.
The Novotel is actually in a great location, all be it a little circuitous for us to get to from North West France (we are at the mercy of small regional airports and Ryanair). If arriving by tube it is just a hop and a skip to get from the Hammersmith station and around this area is full of pubs and restaurants. We found ourselves a fantastic vegetarian and vegan Indian restaurant for dinner and then returned to the Novotel to catch the last part of the evening’s entertainment from the Art of Noise’s Gary Langan and JJ Jeczalik. The atmosphere was great, just like walking into a proper venue with the lower ground floor of the show dedicated to live music and performances featuring a massive Bowers & Wilkins sound system, big stage and an excellent light show. The sound was superb, way above any ‘normal’ PA system and a great way to link the live music and Hifi themes of the show .I also think that doing away with the wines, gins, cars and other stalls that had occupied this area during the previous shows was an excellent idea. Having its own music venue really sets Festival of Sound apart from other Hifi shows and gives the punters (and the exhibitors) a different experience. The way UK Hifi shows have to go in order to survive is to have their own personal identity. Bristol is the ‘Traditional’ Hifi show, the North West Audio Show at Cranage Hall is the one in the most relaxed and comfortable surroundings with the ease of free entry and parking and Festival of Sound is the one that brings live music and Hifi together under one roof…for me these are the three to have on your UK ‘must visit’ list for next year. We heard feedback from other visitors that the live music venue was equally entertaining, featuring high quality acts, throughout the show.
Fresh from a good night’s sleep and a fine breakfast Saturday for us was the time to take in the Hifi side of the show. The layout has now been condensed with three floors of actual Hifi rooms above the live music level. This made it much easier to navigate and gave an excellent overall experience with the rooms being one after the other. The rooms were all of high quality with plenty of big names bringing their best gear to delight the public. We visit a lot of Hifi shows, all over the world, so you do see the same brands several times a year. What is great is hearing different systems rather than the same thing again and again and the exhibitors achieved a freshness and pulled out all the stops to delight the public with their offerings. Stuart is bringing you coverage of the full show while I am picking out some of my personal favourites. This was quite tricky owing to the high quality, but I have managed to narrow it down.
We applied our usual ‘top down’ method of covering a show and started on floor 2 which featured some nice, airy rooms of well known brands. We kicked of in the Marantz room where we had a chat with the Hifi legend that is Ken Ishiwata himself.
Bill Leigh of Auden Distribution really knows how to put a system together and partnered with Music Works to show a sublime combination of Accuphase (in a rose gold finish) with Amphion and Role Audio speakers. The Role Audio were playing when we were in the room and it was a great introduction to the brand. The sound was accurate but natural and we could have spent much longer in there.
We brought you the news prior to the show of the new Audiolab 600 series of electronics. They have caused quite a stir for their combination of expensive looks and low price point, so we were excited about hearing them for ourselves. The Audiolab 600A integrated amp and the 600CDT CD transport looked even more high quality in the flesh. They were partnered with the (equally good looking) Wharfedale D320 standmount loudspeakers that cost just £199.95 (yes, you read that right!) to bring in a sub £1200 system that sounded awesome. Honestly, for a balance of sound quality and price I think you would be hard pressed to find a better combination, plus it’s a great looking system that you would be proud to have on display at home. Well done to both brands…very much looking forward to getting these in for a proper review.
Cabasse, Heed and Parasound were to be found in the Connected Distribution room along with Auralic and Quadraspire. They were onto a winner as they were playing Daft Punk’s RAM when we were there and the sound was infectious to listen to, clean but with loads of energy. A great combination.
We always say that it isn’t a proper show without plenty of Chord Electronics and Festival Of Sound did not disappoint. Moz and Tom from Chord were running their room featuring the new Hugo M Scaler and Etude amp, along with the DAVE DAC, partnered with some lovely Raidho standmounts. Chord show their electronics with a range of speaker brands and each system is well thought out and balanced. The sound was incredibly detailed and it was a chilled out room to be in. As you will read later, Chord had a heavy presence in many other rooms at the show which really showcased the versatility of their products. They are a brand that other brands rely on to give them a reliable, quality sound.
More big names next, PMC had two rooms, one featuring their Fact Fenestria flagship speakers that we first heard at High End Munich. Partnered with a pair of big, German AVM monoblocks they sounded as good as we remembered…and at less than £50,000 they are not as eye-wateringly expensive as some high end speakers. Their second room had PMC twenty5 23 loudspeakers running from their Cor amplifier and was just as impressive and showed the brand’s capabilities with more ‘real world’ products.
One floor down was the big Champagne Terrace. This featured a combination of the large Headroom area of static and headfi stands, it was great to see loads of young people and couples with a particular interest in trying the latest headphones and associated gear.
There were also more rooms including Innuos, who were showcasing their now fully finished Zenith Statement Music Server. It now has its new, solid aluminium case and looks stunning. We heard the famous Statement vs Zenith SE test and it still sounds as good. Innuos were using a full complement of Chord Electronics gear and KEF Reference floorstanders and had a fabulously clean and lively sound.
French brand Focal were showing their latest incarnation of the Grande Utopia speakers, the EVO 3 which come in at £160,000. When we heard these at Munich, where they launched this year, the hot, cramped, low ceiling listening cabin was less than sympathetic and did not allow their full potential. However, at Festival of Sound, in a much bigger room and now having had all their final tweaks, the new Grande Utopias were absolutely brilliant. Partnered with the massive Naim Statement amplification this really represented the pinnacle of the High End of Hifi. The sound was incredibly fast and accurate but also very engaging… another room I would have liked to linger in for longer. The room was packed and definitely wowed the crowds.
We then moved onto the Mezzanine level which is one floor down and sponsored again, for the third year by Hifi Pig. My standout rooms here included Node audio, we first heard their intriguing speakers at Cranage this year in prototype form, so it was excellent to hear the final version. They had been tweaked since we last heard them and were fast, detailed and a pleasure to listen to. An unusual and attractive design paired with their sound is likely to make these a hit….expect to read a review from us soon.
The Vertere room featured Touraj’s beautiful looking and sounding turntables, along with FM Acoustics and some huge PMC speakers, it sounded epic but you needed to get a bit of distance from the PMCs to get the best sound. Touraj Moghaddam is a well-known vinyl enthusiast who set up and was chief designer for Roksan Audio. His passion for music always shines through and he champions the Abbey Road Half Speed Mastering technique along with live music. We were treated to a stunning, emotional and beautiful performance from Dutch duo Elles and Marc. Their acoustic performance allowed Elles’s wonderful tone to shine through, one of the top highlights of the show for me.
Bowers & Wilkins’ room sounded the best that I have heard the brand at a show. There was a whole lot of Chord gear and Chord Co cables partnered with their 802 loudspeakers in a limited prestige edition Santos Rosewood finish. The effect was simply stunning and went down well with the crowds, great to see and hear these British brands in partnership.
So that was Festival of Sound 2018. The show has gone from strength to strength over the last few years and long may it continue! We are very much looking forwards to Festival of Sound 2019 and will bring you more details as soon as we have them!
Image may be NSFW. Clik here to view.September was a very busy month here at Hifi Pig Towers, we were out and about seeing the Hifi Lounge Radical SR1 car (who we sponsor) race at Donnington, we popped up to Glasgow to visit Linn and experience their new Selekt DSM Network Music Player and finally we had a trip to London for the Festival of Sound Audio and Music show, with whom we are media partners. We also brought you a report from the Audio Show Live, Leamington Spa. Have a read through of all the other news that happened too below, with links to everything we covered last month, plus links to the reviews we published in September.
Image may be NSFW. Clik here to view.Kicking off tomorrow at the Denver Marriott Tech Centre in Colorado, RMAF is one of the major Hifi Shows in the USA. There are stacks of exhibitors and plenty of new product launches…here’s a roundup of the latest pre-show news!
Bryston will be showing a Bryston Active System featuring equipment including their BDP-3 and BDA-3 digital front end, Class A Recommended BP-17 Cubed Series preamplifier, new 21B Cubed 3 channel amplifiers and Mini T Actives. They will be in Room 1022.
British Hifi manufacturer Mitchell & Johnson will be showing their September-launched S800 ‘digital’ preamp ($1,725) and S815 power amp ($1,725), that are entirely designed, engineered and built in the UK. They will be in Room 6013, Summit Tower Level 6.
Join Cary Audio in the Marriott Towers Room 8004 they will be debuting their two newest network audio players at this year’s show, the DMS-550 and DMS-600 also making its North American debut is Cary Audio’s new SLI-100 vacuum tube integrated amplifier, the successor SLI-80.
PS Audio will be in the Spruce 1 suite, directly behind show registration on the first floor of the Denver Marriott Tech Centre hotel. Playback in the room will be on the following system: DirectStream Memory Player (DMP) (MSRP $5999), DirectStream DAC (MSRP $5999), BHK Signature preamplifier (MSRP $5999), BHK Signature 300 mono amplifiers ($14,998/pair), P20 Power Plant (2 units in use, MSRP $9999 each) Arnie Nudell’s unnamed prototype speakers and associated gear from Arnie’s personal system.
California based Dragonfire Acoustics will debut their Desktop Nearfield Monitor System Room 4007 at RMAF, including their Mini Dragon Planar Magnetic Speakers and DFA MD-4 DAC/AMP and DSP Room Correction product.
Nordost will be in the Humboldt Peak room is showcasing a system featuring components from CH Precision, DCS, and VPI, as well as YG Acoustic loudspeakers. The whole system will be wired using Nordost’s Reference range of Odin 2 cables. Nordost will also be exhibiting at CANJAM with Woo Audio. They are also hosting a jazz concert that will be held at the Hilton Garden Inn, across the street from the Denver Marriott Tech Centre, on Saturday, October 6th at 2 pm and 6:30 pm. The concert will be the debut of a new jazz ensemble, featuring Dave Douglas, Dominique Eade, John Gunther, Elan Mehler, and Simón Willson.
Muraudio‘s newly released SP1 will be at Rocky Mountain Audio Fest 2018 and will be paired with Triangle Art’s Master Reference and Maestro turntables, Reference Tube phonostage and preamp and all new TA-200M Pure Class A Monoblocks. Visit room 1104.
Italian Hifi brand Aqua, from Milan, will have their DACs in three different listening rooms at the show Room 581, Formula xHD. Room 578, La Voce S3 Discrete. Room 9004 by Old Forge Studio, Formula xHD.
Image may be NSFW. Clik here to view.McIntosh has launched the MC312 Power Amplifier, a 300-watt US-made stereo amp that, say McIntosh, introduces numerous improvements over the MC302 which it replaces. The MC312 Power Amplifier features several internal upgrades in addition to some design updates.
Improvements over its predecessor, the MC302, include doubling the filter capacity and many circuit components have been upgraded, along with the internal wiring. Balanced and unbalanced outputs have been added to enable bi-amping or tri-amping speakers; these can also be used to connect to a secondary system if the preamplifier doesn’t have enough connections or to connect a powered subwoofer.
The MC312 also contains a number of additional McIntosh technologies including: Power Guard®; Sentry MonitorImage may be NSFW. Clik here to view.; Power Control and McIntosh’s patented Solid CinchImage may be NSFW. Clik here to view. speaker binding posts.
The MC312 has received some design updates, too. The audio output Autoformers, whilst still straddling the power transformer, are now located in new enclosures capped by a single cover, with glass inserts detailing the wiring diagram for each transformer.
Other design updates include the addition of McIntosh’s exclusive Monogrammed HeatsinksImage may be NSFW. Clik here to view., an eco-friendly power management system and direct LED backlighting illuminating the front panel.
The MC312 has a polished stainless steel chassis and features the McIntosh black glass front panel with illuminated logo, control knobs, aluminium end-caps and a pair of fast-responding blue Watt meters. Price is at £9,995 or $7,000 in the USA.
The Griffith room hosts the world premiere of Primare’s new PRE35/A35.2 pre-power amp team, featuring fully modular architecture and Primare’s Prisma connectivity platform, lately enhanced by Roon and Chromecast built-in.
The Primare ensemble will be driving a further UK show exclusive: Falcon’s flagship GC6500R Reference speaker. The new three-way design incorporates a number of proprietary technical advances including the breakthrough Falcon SonaweaveImage may be NSFW. Clik here to view. Graphene Enhanced Nano-Platelet Cone deployed in the bass driver design. The use of Graphene allows the diaphragm to be 60% lighter and thinner than those of conventional drivers.
The Primare Prisma range makes a return at the Buckingham 3 venue, supported by Falcon Acoustics speakers. The Falcon line-up features Falcon’s authentic LS3/5A mini-monitors, hand-built exclusively to the original 1976 BBC spec, and its new Reference Audio Monitor (RAM) range (pictured).
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Buckingham 4 is the stage for a partnership of the Emotiva and GoldenEar brands The Emotiva XSP-1 and XPA-DR2 will fill the space through the Goldenear’s Triton 5 Tower speakers. Karma’s other Buck 4 demos include pairings of Emotiva’s entry-level TA100 or PT100 and A300 pre/power ensembles, and Primare’s EISA Award-winning I15 amplifier, partnered by SVS and Falcon speakers.
The Hi-Fi Show Live 2018 is being held at the Beaumont Estate in Old Windsor, Berkshire, November 10th -11th.
Image may be NSFW. Clik here to view.This weekend sees the Hifi Show Live hold it’s last show in Windsor before it moves the new premises at Royal Ascot for the 2019 show. Absolute Sounds, the high end UK distributor is taking loads of great gear and will be in three rooms in the Windsor Suites area.
Below is a selection of products set to demonstrated in Absolute Sounds’ three rooms, from some of the world’s most prestigious high-end audio brands. This is the only major UK hifi show at which these brands can be experienced.
In Windsor 4 there will be new dCS Bartók upsampling network DAC (pictured).
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Also the new EAT Prelude turntable (pictured) and EAT E-Glo Petit Valve Phono Amplifier.
The new Wilson Audio Sasha DAW loudspeakers (pictured) that have just been released in honour of Dave Wilson, are making their appearance in Windsor room 5.
They are joined by the new dCS Rossini CD/SACD transport, Audio Research Reference 10 valve preamplifier and Audio Research Reference 160M valve power amplifier, along with the Dan D’Agostino Momentum M400 solid-state power amplifier.
Over in the Windsor Lounge will be the new Kalista DreamPlay One CD Player (pictured). Alongside will be the new TechDAS Air Force V turntable, ReQuest Audio The Beast music server and Constellation Audio Virgo III preamplifier. Magico’s M6 loudspeakers will also be in action.
There will be loads more gear on demo and display, too much to list! Plus, brand representatives are flying in from Europe and America to run demonstrations and answer questions, including:
Raveen Bawa (dCS)
Irv Gross (Constellation Audio)
Jozefina Lichtenegger (EAT)
Peter Mackay (Magico)
Peter McGrath (Wilson Audio)
Bill McKiegan (Dan D’Agostino)
The Hi-Fi Show Live 2018 is scheduled to run over two days from Saturday 10th to Sunday 11th of November at the Beaumont Estate in Old Windsor, Berkshire. The doors will open at 9.30am and close at 5:30pm.
Image may be NSFW. Clik here to view.With its 30th anniversary approaching, Chord Electronics has launched ULTIMA, a new flagship amplifier featuring John Franks’ latest circuit topology, the first all-new design in three decades. Chord say ‘ULTIMA is the ultimate expression of the finest high-performance, ultra-fast, ultra-high-power amplifier technology available today’.
Comprising of a reference-quality preamp and two mono power amplifiers (all £30,000 each). The ULTIMA mono power amplifiers have been designed and engineered in Britain. ULTIMA’s technology is based on a technical paper by Dr Malcolm J Hawksford (emeritus professor at Essex University) which was taken up and refined by Bob Cordell of Bell Labs. Chord Electronics’ owner and Chief Designer, John Franks, then took the theory and developed it to a much higher level; a progression of Cordell’s advanced dual-feed-forward error-correction topology incorporating Franks’ own advanced concepts in ultra-high-frequency power supplies, which have been a cornerstone of the company’s proprietary-technology amplifiers since its inception in 1989.
Each 86kg mono amplifier is hand-built at the riverside Kent factory, The Pumphouse, over a period of several days, with each build overseen by a dedicated engineer. Chord Electronics’ aircraft-grade solid aluminium casework offers an entirely non-resonant enclosure for the electronics. The casework is neatly complemented by the unique Integra Leg system which offers both striking visuals and the ability to stack with various other full-size Chord Electronics products as well as the Choral units, such as the DAVE DAC/preamp and BLU MKII CD/digital transport, when using the dedicated Choral Ensemble stand.
The ULTIMA preamp benefits from true dual-mono construction with separate ultra-high-frequency power supplies for each channel, giving the best possible separation. With the addition of Chord Electronics’ low-noise circuitry, noise floor performance is beyond -135dB. The ULTIMA preamp includes three pairs of fully balanced outputs and three unbalanced outputs; inputs include four unbalanced and four balanced with six-step gain adjustment; selection is made via remote control or from the front panel, which uniquely features separate frequency EQ adjust controls for the left and right channels.
Internally, each of the power supplies and the sensitive volume, balance and EQ controls, are surrounded by solid milled aluminium shielding to prevent RF interference. Fully balanced A/V bypass circuitry allows direct connection to A/V processors. Further features include front panel VU meters with BBC ballistics, two low-distortion, low-noise front-panel headphone output jacks and 12V remote triggering outputs.
Chord Electronics’ proprietary amplifier technology has seen numerous refinements and updates over the past 30 years, however, ULTIMA receives John Franks’ all-new circuit topology, the first completely new design since the company supplied its first customer, The BBC, in 1989.
Chord Electronics looked at Bob Cordell’s aforementioned work from the 1980s before developing an initial design that incorporated both his topology as well as John Franks’ award-winning, time-proven amplifier tech; the nested feed-forward and global feedback allowed for Chord Electronics’ custom-designed dual silicon die MOSFET output transistors to perform uniquely well.
The new dual-feed-forward error-correction amplifier technology was first implemented on a medium scale in the Etude power amp (from the Choral range, unveiled at High End, Munich in 2018). Realising its benefits, Chord Electronics started work on a replacement circuit for its range of uncompromising full-size mono amplifiers, ULTIMA being the largest, most advanced and most powerful in the portfolio.
The ULTIMA mono amplifier unit has 64 proprietary MOSFET power devices that demand the most advanced and refined drive circuitry, suitably devoid of sound-degrading components. The drive circuitry features an ultra-low-distortion, high-voltage amplifier operating at very high speed: 300 volts per microsecond technologies with advanced feed-forward and feedback compensation techniques. It also benefits from Chord Electronics’ TO3-style dual die lateral matched MOSFETs, which are continuously monitored with output stage error-correction circuitry and feature fully balanced input circuitry with DC-tracking servos and full temperature compensation. ULTIMA offers 780 watts into 8 ohms, 1,400 watts into 4 ohms and 2,500 watts into 2 ohms. ULTIMA’s peak output current exceeds 500 amps.
Image may be NSFW. Clik here to view.Eight years after the launch of its first compact high-end amplifier in 2010, Devialet has enhanced the Expert Pro line-up with three ‘major evolutions’.
Devialet AXD® (for Active Cross/X-over Design) is a new technology is the result of an exclusive partnership with some of the world’s leading speaker manufacturers (YG Acoustics, Estelon, Vivid Audio and more to come) to design the shortest analogue signal path between an audio source and speaker drivers, while limiting analogue sections to a minimum. To achieve this, AXD® combines the endless possibilities of Devialet Expert Pro DSP (Digital Signal Processor) with the crossover networks of carefully selected high-end speakers, to create an optimised setup. The new Core Infinity hardware board inside Expert Pro delivers increased power. Combined with the latest Devialet operating system, and firmware 13.x it brings a large range of streaming protocols to Expert Pro, including Airplay, Spotify Connect, Roon Raat etc.
The stereo range comes in three configurations: The new Expert 140 Pro (pictured) priced at 4990€, Expert 220 Pro and Expert 250 Pro. They can all be upgraded to Dual-Mono or multi-amplification. The Dual-Mono range comprises Expert 210 Pro Dual, Expert 440 Pro Dual and Expert 1000 Pro Dual. They can all be upgraded to multi-amplification. The Upgrade Program 3.0 (hardware) allows customers to upgrade their Expert system (without Core Infinity board) to the new Expert Pro system with Core Infinity.
The Audiolab 6000A amp with DAC and 6000CDT CD Transport cost £599 and £399 respectively. In a world’s first review of the combo Alan McIntosh sees if this relatively budget pairing delivers the goods. Image may be NSFW. Clik here to view.
“Having recently fallen in love with my Audiolab MDAC+ and considering more and more to move to a CD transport rather than full CD player (with DAC integrated) my interest was immediately peeked when the Audiolab 6000A amplifier/6000CDT pairing appeared on the market – and at a very reasonable prince point. Could a company succeed to deliver both an amp and transport at the quality expected for under grand – if they could, then Audiolab may just have followed the 8000 series with another classic system…”Image may be NSFW. Clik here to view.
British Hifi brand Exposure’s new top-of-range 5010 series features a preamplifier and a pair of mono power amplifiers and builds on the brand’s previous flagship, the MCX series.
